Peter Frampton is showing fans the way to his next musical era, announcing Tuesday (March 17) that he’ll be dropping his first album of original music in 16 years in May.

Titled Carry the Light, the LP will arrive May 15 and features a number of star collaborators. The first single, “Buried Treasure” — a tribute song in honor of Tom Petty — dropped on the day of the album announcement.

In a post on Instagram, the rocker wrote, “This record is a very special one for me. I got to write and produce it with my son Julian, as well as work with some wonderful friends along the way.’

Among the featured artists are Sheryl Crow, who sings with Frampton on “Breaking the Mold,” and H.E.R., who plays guitar alongside the Humble Pie alum on “Islamorada.” Tom Morello fittingly appears on a track titled “Lions at the Gate,” which is described as a “protest song” in a release.

Also on the record are Graham Nash on “I’m Sorry Elle,” Benmont Tench on “Buried Treasure” and saxophonist Bill Evans on “Can You Take Me There” and “Tinderbox.”

Frampton’s last proper album, Thank You Mr. Churchill, dropped in 2010 and appeared on the Billboard 200, on which the guitarist has scored 14 entries total. His 1976 live album, Frampton Comes Alive, spent 10 weeks at No. 1 on the chart.

The new project will also mark his first full-length since being inducted into the Rock & Roll Hall of Fame in 2024. He was also present at the induction ceremony the year prior, playing alongside Class of 2023 member Crow during her performance that night — which also saw Morello accepting an induction on behalf of Rage Against the Machine.

“[Sheryl] stirred the pot big-time and made people aware — including some of the board members, I think,” Frampton told Billboard in 2024 of crediting Crow with his nomination to the Rock Hall. “They thought I was already in.”

See Frampton’s announcement and listen to “Buried Treasure” below.

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Turns out not everyone is excited for the upcoming Pussycat Dolls reunion.

Earlier this month, the iconic girl group announced that they will be reuniting for a 53-date tour across the U.K., Europe and North America. Alongside the tour announcement, the Pussycat Dolls also released a new single, “Club Song.”

The 2026 return of the Pussycat Dolls follows a 2019 reunion tour which saw the band, which started as a group of six, reunite as a five-piece. This time around the Pussycat Dolls are down to just three of its members: Nicole Scherzinger, Kimberly Wyatt and Ashley Roberts.

While fans of the group are ready to see the 2000s legends hit the stage again, some key figures in the group’s history do not feel the same.

On Tuesday (March 17), original Pussycat Dolls member Carmit Bachar alleged in an Instagram post that she was not invited to participate in the upcoming Pussycat Dolls reunion tour. In a long caption attached to two photos of herself, Bachar detailed her experience learning about the upcoming reunion tour.

“In light of recent developments, I feel it is important to speak honestly and respectfully,” wrote Bachar. “I was not contacted regarding the group’s decision to move forward, and I learned of these plans at the same time as the public.”

Bachar continued to say that she wishes she were directly contacted regarding the reunion “given [her] history with the brand” and that this is “disappointing on a personal level.”

Despite her disappointment, Bachar says she is still proud of her work with Pussycat Dolls (the group scored four top 10 hits on the Billboard Hot 100) and that time in her life will always be meaningful to her. She even started her statement by expressing gratitude for the fans worldwide, with a particular shoutout to the LGBTQ+ community

Although she is speaking publicly on the manner, Bachar said she does not intend to start any drama.

“My intention in sharing this is not to create division, but to honor the truth and the fans who have supported us throughout the years,” she explains. “Transparency and respect are values I hold deeply.”

Going forward, Bachar said she is focusing on her well-being and will be sharing new projects, such as new music and an “exciting collaboration with a television and music industry icon.”

Billboard has reached out to representatives for the Pussycat Dolls for comment.

Before Carly Rae Jepsen‘s daughter came into her life, she missed her so bad — but now the little one is here, as announced by the singer on Tuesday (March 17).

In a post on her Instagram Story, Jepsen revealed that she and husband Cole Marsden Greif-Neill, aka Cole M.G.N., had welcomed their first child. Sharing a photo of herself holding her baby on Instagram Stories, the hitmaker wrote, “Last 2 weeks have been the best of my life.”

“Welcome to the world little one,” Jepsen added.

The Billboard Hot 100-topping artist and Cole M.G.N. got married in October, tying the knot at the iconic Chelsea Hotel in New York City just over a year after announcing their engagement. “We knew we wanted a location that meant something to us, and the Chelsea Hotel had become a home away from home every time we were in New York,” Jepsen told Vogue at the time.

A few months later, the pop artist announced that she and the producer were expecting their first child by posting photos of her bump and writing, “Oh hi baby.”

Jepsen last dropped a new album in 2023, following up 2022’s Billboard 200 No. 19 hit The Loneliest Time with The Loveliest Time. She has five entries on the chart in total, including 2016’s EMOTION. She recently celebrated that album’s 10-year anniversary by dropping a special expanded edition of the album featuring new songs “More,” “Guardian Angel,” “Back Of My Heart” and “Lost In Devotion.”

It’s been nearly four years since Harry Styles last conquered the pop world with his blockbuster set Harry’s House — and based on the immediate returns for that set’s follow-up, most of his longtime fans are more than willing to follow him from his domicile to the club.

Styles’ fourth solo album, the more dancefloor-oriented Kiss All the Time. Disco. Occasionally., debuts atop the Billboard 200 this week, while moving 430,000 units in its debut frame. Those numbers are down a little from the 521,500 posted by Harry’s House in its first week, but are also higher than any other album’s debut numbers since Taylor Swift’s The Life of a Showgirl last October — while also making Styles the first male artist since DMX to have his first four solo albums debut atop the chart.

How should Harry Styles feel about the set’s first-week performance? And where would we suggest he goes from here? Billboard staffers discuss these questions and more below.

1. Harry moves 430,000 units this week in the debut frame of his Kiss All the Time. Disco, Occasionally. album — down some from the 521,500 he posted with Harry’s House, but still easily the highest single-week number of 2026 so far — while charting each of its 12 tracks in the Billboard Hot 100’s top 50. On a scale of 1-10, how excited should he and his team be about that first-week performance?

Kyle Denis: I think a solid 7.5. When it comes to a star of Harry’s magnitude, I believe there were a couple of tens of thousands of units left on the table. But every lead single can’t be “As It Was” — and “Aperture” certainly was not. With that in mind, 430,000 units is a more-than-fine figure; it’s consistent with his first three LPs and re-establishes him as a top dog in the 2026 pop music scene. 

Annie Harrigan: 10. Though Styles is down in sales from his last drop, debuting at No. 1 and having each song from an album with only two singles chart in the top 50 is incredibly impressive. On top of the chart success, he’s also got the best single-week sales of 2026 thus far — and, while it’s not impossible, I’m not sure if anything will top those numbers before the year’s up.

Lyndsey Havens: 9 — and only because of the dip in first-week units. Which, to quote the man himself, could simply be a sign of the times. I’d have a hard time believing it’s anything else — his rollout promo felt just as specific and intentional; his upcoming tour has clearly generated the same if not more buzz than previous runs; and it’s obvious that Styles remains a global megastar. All of that is surely quite pleasing to him. 

Rebecca Milzoff: 7. Sure, maybe it’s a little disappointing in light of the Harry’s House numbers, but the combination of the album sales and the Hot 100 placements for all of the tracks points, to me, toward people actually listening to the entire album — and I think an album artist is what Harry wants to be. This feels like a solid next step in that direction.

Andrew Unterberger: 7. It’s down a decent amount from Harry’s House — but that was practically inevitable, and shows him to still be in a first-week-performance class of his own when it comes to active male pop stars. (Unless you count Morgan Wallen, I suppose.)

2. “American Girls” has the highest entrance of the previously unreleased songs from the set at No. 4 on the Hot 100, making for the second top five single from the album. Do you think it will be a long-lasting hit, or will it start to recede after its big first week?

Kyle Denis: I see this sticking around longer than “Aperture.” Whether it hits an “Adore You”/ “Watermelon Sugar” level is another question. With a stronger hook, an action-packed music video and more immediate love from fans and casual listeners alike, I think “American Girls” will have a solid single run. 

Annie Harrigan: With the success of “Aperture” and the album as a whole, I’m kind of surprised that “American Girls” didn’t debut at No. 1 — but such is the power of Bruno Mars, I guess. Personally, “American Girls” is one of my favorite songs on the album, and I think it was a great choice for the second single, so I hope it will continue to do well and rise to the top of the chart. However, I think because he decided not to give “American Girls” greater visibility by not performing it on SNL, it might not do that right away. But these things are so unpredictable, and Styles has surprised me before (see: his AOTY win), so truly anything can happen.  

Lyndsey Havens: I think it will be a lasting favorite, if not a lasting hit. I found it interesting that he didn’t perform it on Saturday Night Live, and given that it’s already received a music video, it’s possible the song has enjoyed the biggest boost it will see. That said, songs have a way of raising their hand on tour — and there is a quiet confidence to this one — so I think we will have to wait and see. For me, at least, it’s the one I hum most often, even if I can’t pinpoint why. 

Rebecca Milzoff: I think it’ll start to recede. Catchy chorus notwithstanding, it’s on the more blandly pleasant end of the Kiss tracks spectrum, for me; I frankly wonder if some of the high chart placement owes to the fact that it’s track two, and thus probably getting lots of streams even from casual listeners who aren’t in it for the full album. Following Harry’s SNL performance, I’m hopeful that “Dance No More” (one of my personal favorites on the album) will gain a wider audience and perhaps become the logical next single with a longer potential lifespan. 

Andrew Unterberger: Seems like it’ll recede, but radio remains a wildcard. Styles’ second Harry’s House single “Late Night Talking” had a similarly splashy debut that it failed to match in the weeks after, largely because neither radio nor streaming could get enough of “As It Was.” But “Aperture” has not been similarly dominant as Kiss‘ lead single, so if PDs and streamers ultimately decide that “American Girls” is more their speed — which certainly feels possible — it could still have a second life months down the line.

3. While pulling double-duty as host and performer on this weekend’s SNL, Styles eschewed playing either of his Kiss singles and instead played a pair of deep cuts, “Dance No More” and “Coming Up Roses.” Do you think it was a mistake for him to not play the hits, or was it better for the album cycle long-term for him to spread the wealth like that? 

Kyle Denis: Performing deep cuts was the right call. He got to show off the album’s more somber Kiss All the Time moments, as well as its uptempo Disco Occasionally side — and that’s a call that probably shifted the needle for on-the-fence listeners more than another “Aperture” performance would have. It was certainly a curious choice to ignore “American Girls,” though. But I guess the music video premiere made up for that. 

Annie Harrigan: I personally really love that Styles decided not to perform a single on SNL. I think the world has heard its fair share of “Aperture” over the last two months, and the same may soon be true of “American Girls.” He’s also already performed “Aperture” live on a major stage (the BRIT Awards) and just did “American Girls” for BBC Radio 1’s Live Lounge. I think making the decision to do deep cuts on SNL, rather than the same two songs we’ve all already heard, will only pique greater interest in the album in people who’ve not listened to the full work but may be familiar with the singles.

Lyndsey Havens: At first, I was pretty surprised, but I’ve actually come to think this was a clever move. I had a feeling that an album like Kiss would grow on me with time — and it has. And I do believe it’s an album that Styles created as a unit; more so than his previous albums, Kiss is an entire vibe. So, to use an opportunity like SNL to showcase more pieces of the whole feels really smart. Or, perhaps it’s just that “Dance” and “Roses” are person faves for Harry and he took his shot — because he can.

Rebecca Milzoff: Better for the album long term. “Aperture” has in a fairly short time fallen to the low 20s on the Hot 100, so it was wise I think to move beyond it; “American Girls,” which already has one of the less inspiring Harry visuals, likely wouldn’t get a further boost from a live performance. The two tracks he chose for SNL may be deep cuts, but to me they’re wise choices that show the spectrum of what he can do now: “Dance No More” is the most easily digestible dance-y track on the album, while “Coming Up Roses” showcases Harry’s maturing introspective singer-songwriter side (it was a canny move to have one of the ultimate introspective singer-songwriters in modern pop history, Paul Simon, introduce it). 

Andrew Unterberger: I like the move in theory but not in practice. I get not playing “Aperture,” since that single underwhelmed from a commercial longevity sense, and already got its own spotlight moments at the BRITs and his One Night in Manchester Netflix special. But to not help nudge along the commercial momentum of “American Girls” as the second single is a puzzling decision, one not helped by the fact that the two songs he did play are my two least-favorite songs on the new album. But “Coming Up Roses” has started to outpace a good number of its album-mates on DSPs, so despite my personal feelings, perhaps it’s a decision that will ultimately be validated in the long-term.

4. Much has been made of Styles’ pivot to more dancefloor-ready songs on Kiss from the more pop-rock-oriented fare of his past couple albums. Based on the album’s first-week performance, do you think the change in direction has been validated — or was it even all that great a change in the first place? 

Kyle Denis: It really wasn’t that massive a shift. It’s not like he dropped a Brat or a Renaissance. The title perfectly sums up the musical composition of the album — the “disco” or dance-y moments are truly occasional. Styles is practically guaranteed a robust opening week total considering the size of his fan base, but I think we’ll need to see if one of the dancier tracks (hopefully “Dance No More” or “Ready, Steady, Go!”) becomes a smash hit before we can say this sonic pivot is validated. 

Annie Harrigan: I personally tend to look beyond first-week chart performance when considering the success of a new album, especially with works as anticipated as this one. In this moment, it’s easy to say that, yes, of course pivoting to a dance-pop sound worked for Styles. But change or no change, we knew he was going to top the charts. All eyes were already on him, and the excitement was very much there. I think we will know more about whether the change in direction has been validated once the album has had more time to marinate. Now it’s time to wait for the initial excitement to die down and see if Kiss All the Time. Disco, Occasionally. will have staying power.

Lyndsey Havens: I do think it was a bit of a challenge; I think any time an artist, especially one at Harry’s level, makes any creative or sonic shift it’s a challenge. But I think why it is and could continue to work is because this music feels authentic to Harry at a specific time in his life — he was off the road and off the clock, slowing down for long afternoon coffees to power his Berlin club nights. I think a good album functions as a sonic snapshot of a particular period in an artist’s life, and to me, that’s what Kiss is and where its strength lies. 

Rebecca Milzoff: It’s certainly been validated insofar as it shows that Harry doesn’t need to emulate a 1970s icon of some sort to find an audience — but he’s also not leading his flock terribly far astray. This feels more like a pop or rock album with dance influence than the other way around; some tracks, like “Waiting Game” and “Coming Up Roses,” wouldn’t have felt out of place on Harry’s House, while the dance-ier tracks (say, “Ready, Steady, Go” and “Are You Listening Yet?”), while lots of fun, make me wish he would have leaned even a little harder into his dance-y tendencies

Andrew Unterberger: I think the first-week-performance shows that Harry has one of the most devoted followings in pop, and one that’s essentially willing to follow wherever he goes. So in that sense, it validates the pivot, because it validates that what fans love about him goes beyond any particular trappings of his sonics or songwriting. But whether general audiences will continue to tune in in the same way is another matter, and one that’s still a little TBD on this album.

5. If you were on Harry Styles’ team, what advice (if any) would you give him on where to go or what to do with his next album/era? 

Kyle Denis: For album five, I think it’s time to bring new collaborators into the studio. Even if it’s just for a song or two. 

Annie Harrigan: If Styles plans to continue with the dance-pop direction he’s going in, I’d love to see more intricate and refined choreography from him. Styles was a member of a boy band that historically did not dance, even though dancing used to be one of essential boy band hallmarks. So, to see him now, four solo albums deep, embracing a love of dance is exciting. Add on the fact that we don’t get a lot of pop boys hitting big dance numbers nowadays (apart from Bruno Mars, maybe), and it’s great to see another! My advice to Styles would be to look towards some of the pop girls who are known for big choreography — Lady Gaga, Beyoncé and of course Janet Jackson come to mind — and study how they move.  

Lyndsey Havens: Keep living life, Harry! Take more time off after this tour and see where it leads you. I love that for Harry’s House we got a Better Homes & Gardens feature and for Kiss we got a Runners World conversation. Who knows what will inspire Harry next? I think that’s the fun. 

Rebecca Milzoff: Get weird! Harry’s proven that he’s a diligent student of classic pop and rock songwriting, a decent enough vocalist, a willing collaborator, and a star so charismatic that his fans will likely follow him anywhere.  He’s got a great foundation to be able to experiment more,  and some of his work on this album with Kid Harpoon feels like he’s dipping a toe into more outré waters. Would I listen to Harry Styles and His Dead Petz? Highly possible! Jump into the deep end, Harold!

Andrew Unterberger: Work with some collaborators that will help him hone his pop instincts a little more — particularly lyrically, where this album could use a little extra sharpness. Amy Allen, who Styles struck gold with at least once before, would certainly be a good first call.

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The Grateful Dead is one of the most celebrated bands in music history with a long tradition of engaging with their fans in creative ways. And after celebrating more than 60 years in music, The Grateful Dead’s longtime partnership with Dogfish Head Brewery is bearing even more fruit with a new lager collaboration.

Available nationwide, the Grateful Dead Citrus Daydream Lager is an American Rice Lager that’s described as a “crisp, clean and super-sessionable with a splash of citrus for a drinking experience reminiscent of sunshine and daydreams,” according to the brand. It’s made from rice and sustainable African Fonio grain, as it’s hopped with a blend of Lemondrop and Contessa hops, as well as lemongrass, lime and lemon peel for brightness.

“Fans of the Grateful Dead are totally engrained in its culture and can easily identify when something doesn’t fit seamlessly with the band’s ethos,” says David Lemieux, the Grateful Dead’s Archivist & Legacy Manager in a press release. “It’s Dogfish and the Dead’s shared values of creativity and nonconformity, and their laser focuses on remaining true to themselves that has made this partnership so successful.”

Grateful Dead Citrus Daydream Lager, which is 5.3% ABV (Alcohol by Volume), isn’t the only collaboration with Dogfish Head. Last year, the band and brewery partnered with the fan-favorite Grateful Dead Juicy Pale Ale, a light and breezy pale ale that was Dogfish Head’s most successful launch to date.

“Fans felt the genuine connection between our brands with Grateful Dead Juicy Pale Ale and I’m certain they will with Grateful Dead Citrus Daydream Lager, too,” continues Lemieux.

In addition, Dogfish Head launched the Daydream Playbook, a new online hub for creative exploration between The Grateful Dead and the brewery via storytelling, music, and art. It’s a way for fans to engage with the collaboration through curiosity and creativity.

The Grateful Dead Citrus Daydream Lager, which comes in six-packs of 12-ounce cans, is now available at grocery and beverage stores across the country. Learn more about Dogfish Head x Grateful Dead, or find where to buy the new lager near you here.